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Lovely version Beeboss.

So what did he teach you about harmony in the first lesson?

What do you find to be futile about transcriptions? I've had mixed feelings about them, but I've come to think that they can help with getting new ideas under your fingers and buried in the subconcious for expanding creativity. I guess if you've done alot of any player in particular it might get to be less valuable, and it's probably not good to absorb too much of anyone...if you're goal is having your own sound.

By the way...did you write out all the KJ transcriptions you did? If you did and still have them I wonder if it would be too much trouble to share some of them?

beeboss, sweet job as always. what's that thing on top of the keys on the right, a book or some recording device?

I'm of the thought that transcribing note for note solos is not worth doing. Because you simply can't assimilate so much stuff. I do take snippets or a fews bars and try to see what the player was thinking.

I've been wanting to transcibe left hand chords to see voicings but my ears are crap and it's futile.

wee, where are you playing these days? I think I read you got a regular gig at a place, good stuff.

I just recorded a practice session. Lots of repetitiveness and fingers leading the note choices. But moments (maybe brief) of ideas coming out, particularly later. I just kept the LH away so I could concentrate on the rhythm (just like Scott). I think the rhythm improved.

ATTYA Practice Solo
http://www.box.net/s/ps6te1ikk73beeuq34f2

Thoughts?

sounds nice. I like that your lines are getting longer, and imho, the phrasing and flow has also improved.

Thanks Knots, I just integrated more bebop elements. I'm not sure how much I will actually use of bebop as my voice settles but it certainly helps with the flow to always have it handy on the fingers. I think I was missing that.

Wow Jazzwee, haven't heard you in awhile, I'm amazed with your progress. Beautiful sound and forward motion phrasing.

Dave Ferris, Hi. I remember that you posted a beutiful take on Darn that dream awhile ago. I also vaguely remember that you posted the score of it. I'm working on it at the moment. Would it be too much to ask you to post it again?

See how fresh it sounds without the LH going plonk plonk all the way through?
Good stuff.

Up to that point I had always considered that the idea behind scale choice (and consequently the harmonic concepts that come from scales) should be based on consonance with the harmonic framework. I would always try to use the scale that sounded most consonant, and he made me question that and start exploring the notes that are not so consonant. It sounds obvious now but 17 years ago that was a new idea to me.

I realised that if one wants to emulate Jarrett (for instance) then a better way of doing it than reproducing some solo note for note is to try to emulate his skill set. With his in mind I started studying Bach and working on developing focus and rhythmic approach, and this has proved better for me (although I still have 667 years to go before I can catch up with J).

I will try and post some J's transcriptions that I did.

Whilst transcribing is not my choice way to approach learning jazz it is very very good for helping to develop the ears, and good ears are the no. 1 thing we need to play jazz.


btw the thing is a metronome

Still Beeboss, it's hard to imagine what one self would sound like without doing transcriptions. You're a very accomplished player after all and I'm sure the assimilation of the Keith stuff is a part of it..

Imo, it's a waste of time transcribing. That said, I think that playing with say the Standards trio is far much beneficial. Put on a tune, then play-a-long. Tempo to fast? Get Amazing Slow Downer.
Too much too fast? Loop 4 bars. Listen and imitate. But don't write it down instead, internalise it. Get those inner ears working.
Let's say, learn a II-V lick by heart, play it to to speed. Transpose it to all keys, etc.
Bert Ligon's example of ATTYA. http://www.music.sc.edu/ea/Jazz/transcriptions/JARRETT%20EXERCISES%20b.htm

But don't spend the time writing it down. Why? Well I'm not going to a gig to sit there with manuscript paper and write my solo, I'm going to play it in real time.

That said again, I do admire those that do take the time to transcribe on paper.

Good point. Curious... how do you figure 667 years to catch up with KJ?

I don't like taking the time to write out transcriptions at all... that's why I try to get them from other people!

And I see you're point about just playing along and picking up stuff you like. I've not really ever tried that but the thought has crossed my mind. I still like the transcriptions though, as a way to hold on to some things for awhile and absorb them and think about them over and over. Whereas when playing along with recordings and assimilating ideas by ear, it seems that the ideas may not get buried as deep, unless you revisit the same stuff every day for awhile. Not that only working on things short term is bad, being that you can cover alot more material if you don't dwell on the same stuff forever. I guess both approaches are valuable in different ways. Oh, and I think my favorite transcriptions to work on are those that have both hands transcribed, particularly for working on rhythmic coordination and technique.

Thanks Klink and Beeboss. I was suprised you both liked it. The first minute sounded like crap to me. But I guess it did sound fresher as it went through.

I've done so little transcription and I still don't intend to make it a significant part of my practice routine. Every time I do a transcription, I realize that if I work it out in 4 note shapes, nothing is really ever that new.

Recently, I wanted to integrate some bebop into my playing. I just listened to shapes. I figure I can duplicate any short phrase just by hearing it. I can do it in different keys. So perhaps this is the reason I haven't needed to transcribe.

I've spent time working on pre-written transcriptions. But I'm bad at working out rhythms from the transcription. That prevents me from hearing it in my head. I have to just hear the original. It's only a problem with it goes super fast like Chick's stuff.

Interesting how we all have different approaches. Notice too how my lack of picking out riffs/licks gives me a different sound. Is it good or bad? That's for the listener to judge.

Just a guess based upon my current standard and apparent rate of improvement.

Hey KK-here you go
http://soundcloud.com/dave-ferris/darn-that-dream-solo-piano

and the music
http://www.divshare.com/download/11648449-86c
http://www.divshare.com/download/11648525-4ef

If anyone would care to make a computer copy of this in Sibelius or whatever, I would be forever indebted ...thanks



Very good..